Pierina Legnani (left) — the first ballerina ever to be titled as Prima ballerina assoluta — with the Prima ballerina Olga Preobrajenskaya (right). They are costumed for the roles of Medora and Gulnare in the scene Le jardin animé from Marius Petipa's final revival of Le Corsaire for the Imperial Ballet. St. Petersburg, 1899.

A ballet dancer is a person who practices the art of ballet.

Gendered titles[link]

Traditions within ballet gender the titles given to men and women who perform as ballet dancers. A general male is referred to as a danseur or a danseuse, if female (French). A ballerina (Italian for "female dancer") is a title used to describe a principal female professional ballet dancer, usually within a ballet company; the male equivalent to this title is ballerino (Italian).

Hierarchic titles[link]

Although the term ballerina is now commonly used to describe any female ballet dancer, it was once a rank given only to the most exceptional female soloists. The opera singer informal equivalent is diva.

Women[link]

More or less, depending on the source, the rankings for women, from highest to lowest, used to be:

• Prima ballerina assoluta
• Prima ballerina, premier sujet or première danseuse
• Sujet
• Coryphée
• Corps de ballet

Men[link]

For men, the ranks were:

• Premier danseur noble
• Premier danseur
• Danseur
• Sujet
• Coryphée
• Corps de ballet

Today[link]

Ballet companies continue to rank their dancers in hierarchical fashion, although most have adopted a sex neutral classification system, and very few recognise a single leading dancer. In most large companies, there are usually several leading dancers of each sex, titled Principal Dancer or Etoile to reflect their seniority within the company. Other common rankings include those of Corps de Ballet and Soloist. The title of Prima Ballerina Assoluta is rarely used, and it is usually reserved as a mark of respect for an internationally renowned dancer who has had a highly notable career. Dancers who are identified as a Guest Artist, are usually those who have achieved a high rank with their company, and have subsequently been engaged to dance with other ballet companies around the world, normally performing the lead role.

[edit] Prima ballerina assoluta

The title or rank of prima ballerina assoluta was originally inspired by the Italian ballet masters of the early Romantic Ballet and was bestowed on a ballerina who was considered to be exceptionally talented, above the standard of other leading ballerinas. The title is very rarely used today and recent uses have typically been symbolic, in recognition of a notable career and as a result, it is commonly viewed as an honour rather than an active rank.

See also[link]

• Ballet company
• Prima ballerina
• Principal dancer
• Russian ballet
• Western stereotype of the male ballet dancer

References[link]

External links[link]

Wikimedia Commons has media related to: Ballerinas

• The Ballerina Gallery

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Priscilla Ahn
Priscilla Ahn on the cover of KoreAm, June 2008
Background information
Birth name	Priscilla Natalie Hartranft
Born	(1984-03-09) March 9, 1984 (age 28) Fort Stewart, Georgia, U.S.
Genres	Acoustic, folk
Instruments	Guitar, piano, harmonica, ukulele, banjo
Years active	2003–present
Labels	Blue Note
Website	Priscilla Ahn's official website

Priscilla Ahn (born March 9, 1984^[1]) is an American singer-songwriter.

Early life and education[link]

Ahn was born Priscilla Natalie Hartranft in Fort Stewart, Georgia to Kay (née Ahn) and Harry Hartranft and spent her childhood living in the USA and South Korea.^{[citation needed]} Ahn moved to Berks County, Pennsylvania for several years and attended Tulpehocken Area High School. After graduation she moved to Los Angeles, California where she adopted her Korean mother's maiden name and began a career in music.^[2][3]

Career[link]

In June 2008 Ahn was selected as Artist of the Week in Paste magazine^[4] and appeared on The Tonight Show with Jay Leno in May 2011.^{[citation needed]} She has toured with Joshua Radin, Amos Lee, Willie Nelson and Ray Lamontagne ^[5] and contributed vocals to the albums Supply and Demand , Mission Bell and Kaleidoscope.^{[6][dead link][7]}

Reception[link]

Ahn's songs have appeared on the television shows Grey's Anatomy,^[8] Knight Rider, several episodes of the Ghost Whisperer^[9] and in the films Disturbia, Bride Wars, Love Happens,^[10] My Sister's Keeper, Free Willy: Escape from Pirate's Cove, and the ITV drama Married Single Other.

A CBS News music reviewer said that Ahn has the voice of an angel and her album Good Day is interesting musically but "lyrically, Ahn has a long way to go". ^[2]

Personal life[link]

Ahn married Michael Weston in March 2010.^[11][5]

Discography[link]

Albums[link]

• A Good Day, Blue Note Records, June 10, 2008.
• When You Grow Up, Blue Note Records, May 3, 2011.

EPs[link]

• Priscilla Ahn (2007, self-released)
• Live Session, (2008, iTunes)
• Sweet Hearts, (2012, With Charlie Wadhams)

Singles[link]

• "Dream" (2008, Blue Note)
• "I'll Never Smile Again" (2009)
• "I Am Strong" by Tiesto featuring vocals by Priscilla Ahn (2009)

Music videos[link]

• "Dream"
• "Red Cape"
• "Vibe So Hot"
• "I Don't Have Time To Love"
• "When You Grow Up"
• "Torch Song"

Compilation appearances[link]

• His Way, Our Way (Sinatra Tribute)

Contributions[link]

• Vocals and Piano on Joshua Radin - We Were Here, Columbia, February 7, 2006 (as Priscilla Hartranft)
• Vocals on Amos Lee - Supply and Demand, Blue Note Records, October 3, 2006
• Vocals on Joshua Radin - Unclear Sky EP, iTunes Exclusive EP, February 12, 2008
• Vocals on William Fitzsimmons - The Sparrow and the Crow, Mercer Street, September 30, 2008

References[link]

External links[link]

• Official website

Summer Glau
Glau at WonderCon 2008
Born	Summer Lyn Glau (1981-07-24) July 24, 1981 (age 30) San Antonio, Texas, U.S.
Occupation	Actress
Years active	2002–present

Summer Lyn Glau ( /ˈɡlaʊ/; born July 24, 1981) is an American actress, known for playing River Tam in the science fiction series Firefly and follow-up film Serenity, and for playing Cameron in the series Terminator: The Sarah Connor Chronicles.

Early life[link]

Glau was born in San Antonio, Texas, where she grew up with her two younger sisters (Kaitlin and Christie). She is of Scots-Irish and German descent.^[1] Her mother is a school teacher and her father a general contractor.^[2]

Glau received a scholarship to a ballet company and was home-schooled from grades 3 to 12 to accommodate her ballet training.^[3] Glau was classically trained as a ballet dancer^[4] and also studied tango and flamenco. After a broken toe^[3] ended her dancing career,^[4] Glau later moved to Los Angeles in 2002 to pursue a more active acting career.

Career[link]

Glau's first television credit was a guest role as a ballerina on the 2002 episode "Waiting in the Wings" of the television series Angel. There she caught the eye of director Joss Whedon, who later cast her in his critically acclaimed but short-lived TV series Firefly as River Tam, a role she reprised for the show's feature film sequel, Serenity. Glau previously auditioned for the role as a Pink Ranger on one of the Power Rangers series before meeting Joss Whedon.^[5]

Glau appeared on the episode "Love Conquers Al" of the TV series Cold Case. She had a small role in the film Sleepover, in which she played a high school senior named Shelly. She also appeared in the CSI episode "What's Eating Gilbert Grissom?", and the second season of The Unit; portraying Crystal Burns, the girlfriend of Jeremy Erhart. In 2006, Glau played Tess Doerner, a paranoid schizophrenic returnee in the second season premiere of The 4400 (episode "Wake-Up Call"), and became a recurring character from season 3 onwards. She also starred in the science fiction film Mammoth. Glau was cast in the ABC Family TV movie The Initiation of Sarah.

Glau at CollectorMania 2007

In Terminator: The Sarah Connor Chronicles, a series that debuted January 13, 2008, Glau played the role of Cameron Phillips, a Terminator infiltration unit sent back to protect John Connor and Sarah Connor from Skynet.^[6] The seventh episode of the series, "The Demon Hand", included several scenes in which Glau (in character as Cameron) dances ballet. Glau also guest starred as herself in the 2009 episode "The Terminator Decoupling" from the second season of the CBS situation comedy The Big Bang Theory.^[7]

On August 26, 2009, it was confirmed after much speculation that Glau would be joining the cast of Joss Whedon's Dollhouse for at least two episodes in the early part of the show's second season. She portrayed Bennett, the programmer for a rival Dollhouse.^[8]

On March 12, 2010, it was announced that she would be joining the cast of NBC's The Cape in a leading role.^[9] In June 2010 she was confirmed as the female lead in the horror comedy film Knights of Badassdom.^[10]

Glau voiced Kara Zor-El in the DC Comics original animated movie Superman/Batman: Apocalypse.^[11]

Awards[link]

Glau was voted Best Actress of 2005 by readers of SFX magazine and received a 2005 Saturn Award for Best Supporting Actress for her performance in Serenity.^[12] She was also runner up for Best Actress/Movie in the SyFy Genre Awards for 2006.^[13]

In 2008, she received the Best Supporting Television Actress award at the 34th Saturn Awards for her performance as Cameron Phillips in Terminator: The Sarah Connor Chronicles,^[14] and was nominated for the Spike TV Scream Awards in the category Best Actress in a Science Fiction Movie or TV Show for the same role.^[15]

Personal life[link]

Summer Glau has been involved in a number of charities, such as B.C. Women's Hospital & Health Centre^[16] Glau is an animal lover and has shown support to the Society for the Prevention of Cruelty to Animals Los Angeles,^[17] where she hand-painted a decorative pet bowl that was later sold on eBay to raise funds. She became a vegetarian in 1995, but, in 2005 she stated that "[...] by the end of shooting [the same year film Serenity] I was eating steaks."^[18] Glau has trained in multiple forms of martial arts, including kung fu and kickboxing.^{[18][19][20][21]}

Filmography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Summer Glau

• Summer Glau at the Internet Movie Database

The Five
Mily Balakirev César Cui Modest Mussorgsky Nikolai Rimsky-Korsakov Alexander Borodin
v t e

The Five, also known as The Mighty Handful, The Mighty Five, or The Mighty Coterie (Russian: Могучая кучка, Moguchaya kuchka), refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. In a sense, they were a branch of the Romantic Nationalist movement in Russia, sharing similar artistic goals with the Abramtsevo Colony and Russian Revival.

History[link]

Name[link]

Vladimir Stasov
(1824–1906)

In May 1867 the critic Vladimir Stasov wrote an article, Mr. Balakirev's Slavic Concert, on a concert given for visiting Slav delegations to the "All-Russian Ethnographical Exhibition" in Moscow. The four Russian composers whose works were played at the concert were Mikhail Glinka, Alexander Dargomyzhsky, Mily Balakirev, and Nikolai Rimsky-Korsakov.^[1] The article ended with the following statement:

God grant that our Slav guests may never forget today's concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians.^[2]

—Vladimir Stasov, Sankt-Peterburgskie Vedomosti, 1867

The expression "mighty handful" (Russian: Могучая кучка, Moguchaya kuchka, "Mighty Bunch" or "Group"), was mocked by enemies of Balakirev and Stasov: Aleksandr Serov, academic circles of the conservatory, the Russian Musical Society, and their press supporters. The group responded by defiantly adopting the name.^[2] This loose collection of composers gathered around Balakirev now included Cui, Mussorgsky, Rimsky-Korsakov, and Borodin — the five who have come to be associated with the name "Mighty Handful", or sometimes "The Five". Gerald Abraham stated flatly in the Grove Dictionary of Music and Musicians that "they never called themselves, nor were they ever called in Russia, 'The Five'"^[3] (although today the Russian equivalent "Пятерка" ("Pyatyorka") is occasionally used to refer to this group).^[4] In his memoirs, Rimsky-Korsakov routinely refers to the group as "Balakirev's circle", and occasionally uses "The Mighty Handful", usually with an ironic tone. He also makes the following reference to "The Five":

If we leave out of account Lodyzhensky, who accomplished nothing, and Lyadov, who appeared later, Balakirev's circle consisted of Balakirev, Cui, Mussorgsky, Borodin, and me (the French have retained the denomination of "Les Cinq" for us to this day).^[5]

—Nikolay Rimsky-Korsakov, Chronicle of My Musical Life, 1909

The Russian word kuchka also spawned the terms "kuchkism" and "kuchkist", which may be applied to artistic aims or works in tune with the sensibilities of The Mighty Handful.

The name of Les Six, an even looser collection of French-speaking composers, emulates that of "The Five".

Formation[link]

The formation of the group began in 1856, with the first meeting of Balakirev and César Cui. Modest Mussorgsky joined them in 1857, Nikolai Rimsky-Korsakov in 1861, and Alexander Borodin in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with a career in chemistry. Rimsky-Korsakov was a naval officer (he wrote his First Symphony on a three-year naval voyage circumnavigating the globe). Mussorgsky had been in the Guards, then in the civil service before taking up music; even at the height of his career in the 1870s he was forced by the expense of his drinking habit to hold down a full-time job in the State Forestry Department.^[6]

In contrast to the élite status and court connections of Conservatory composers such as Pyotr Ilyich Tchaikovsky, The Five were mainly from the minor gentry of the provinces. To some degree their esprit de corps depended on the myth, which they themselves created, of a movement that was more "authentically Russian," in the sense that it was closer to the native soil, than the classic academy.^[7]

Before them, Mikhail Glinka and Alexander Dargomyzhsky had gone some way towards producing a distinctly Russian kind of music, writing operas on Russian subjects, but The Mighty Handful represented the first concentrated attempt to develop such a music, with Stasov as their artistic adviser and Dargomyzhsky as an elder statesman to the group, so to speak. The circle began to fall apart during the 1870s, no doubt partially due to the fact that Balakirev withdrew from musical life early in the decade for a period of time. All of "The Five" are buried in Tikhvin Cemetery in Saint Petersburg.

Musical language[link]

Stylization[link]

The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements:

• They tried to incorporate in their music what they heard in village songs, in Cossack and Caucasian dances, in church chants and the tolling of church bells (to the point where the bell tolling became a cliché). The Five's music became filled with imitative sounds of Russian life. They also tried to reproduce the long-drawn, lyrical and melismatic peasant song, what Glinka had once called "the soul of Russian music." Balakirev made this possible by his study of songs from the Volga in the 1860s. More than any previous anthology, his transcriptions artfully preserved the distinctive aspects of Russian folk music:
  • Tonal mutability

  A tune seems to shift naturally from one tonal center to another, often ending up in a different key than the one in which the song began. This can produce a feeling of elusiveness, a lack of definition or of logical progression in the harmony. Even when stylized by The Five, this quality can make Russian music sound very different from the tonal structures of the West.

  • Heterophony

  A melody is simultaneously rendered by two or more performers in different variations. This is improvised by the singers until the end, when the song reverts to a single melodic line.

  • Parallel fifths, fourths and thirds

  The effect lends Russian music a raw sonority missing entirely from the comparatively polished harmonies of Western music.

• The Five also adopted a series of harmonic devices to create a distinct "Russian" style and color different from Western music. This "exotic" styling of "Russia" was not just self-conscious but entirely invented. None of these devices was actually used in Russian folk or church music:
  • Whole tone scale

  Although Glinka did not invent this scale, his application of it in the opera Ruslan and Lyudmila (1842) — most recognizable at the end of the festive overture — provided a characteristic harmonic and melodic device. This scale in "Russian" works often suggests evil or ominous personages or situations. It was used by all the major composers from Tchaikovsky (the appearance of the Countess's ghost in The Queen of Spades) to Rimsky-Korsakov (in all his magic-story operas—Sadko, Kashchey the Deathless and The Invisible City of Kitezh). Claude Debussy also uses this scale in his music, taking this, among many things, from the Russians. Later it became a standard device in horror-movie scores.

  • The Russian submediant^[8]

  Also linked to Glinka's Ruslan, this is a harmonic pattern (in major mode) in which one upper part proceeds from the dominant pitch chromatically to the submediant while the other harmony parts remain constant. The most basic form of this pattern can be shown as follows (beginning with typical tonic): root-position tonic triad --> root-position augmented tonic triad -> 1st inversion submediant minor triad. A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's Scheherezade.

  • Diminished or octatonic scale

  Rimsky-Korsakov first used this in his symphonic poem Sadko in 1867. This scale became a sort of Russian calling-card — a leitmotif of magic and menace used not just by Rimsky-Korsakov but all of his followers, above all Alexander Scriabin, Maurice Ravel, Igor Stravinsky and Olivier Messiaen (mode 2).

  • Modular rotation in sequences of thirds

  The Five made this device of Franz Liszt their own to base a loose symphonic-poem type of structure. This way, they could avoid the rigid Western laws of modulation in sonata form, allowing the form of a musical composition to be shaped entirely by the "content" of the music (its programmatic statements and visual descriptions) rather than by formal laws of symmetry. This loose structure became especially important for Mussorgsky's Pictures at an Exhibition, a work that may have done more than any other to define the Russian style.^[9]

  • Pentatonic scale

  This stylistic aspect became used by every Russian nationalist composer.^[10] Its distinctive feature is to have only five notes in the octave, rather than the seven of the heptatonic scales (e.g., major and minor). The pentatonic scale is one of the ways of suggesting a "primitive" folk-melodic style as well as the "Eastern" element (Middle East, Asia). A melodic example of the "major-mode" pentatonic scale (C-D-E-G-A) can be heard at the entrance of the chorus at the beginning of Borodin's Prince Igor.

Orientalism[link]

One hallmark of "The Five" was its reliance on orientalism.^[10] Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's Islamey, Borodin's Prince Igor and Rimsky-Korsakov's Scheherazade.^[10] Orientalism, in fact, became widely considered in the West both one of the best-known aspects of Russian music and a trait of Russian national character.^[11] As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of Anton Rubinstein and other Western-oriented composers.^[10] Because Rimsky-Korsakov used Russian folk and oriental melodies in his First Symphony, Stasov and the other nationalists dubbed it the "First Russian Symphony," even though Rubinstein had written his Ocean Symphony a dozen years before it.^[10] These were themes Balakirev had transcribed in the Caucasus.^[10] "The symphony is good," Cui wrote to Rimsky-Korsakov in 1863, while the latter was out on naval deployment. "We played it a few days ago at Balakirev's—to the great pleasure of Stassov. It is really Russian. Only a Russian could have composed it, because it lacks the slightest trace of any stagnant Germanness."^[12]

Orientalism was not confined to using authentic Eastern melodies.^[13] What became more important than the melodies themselves were the musical conventions added to them.^[13] These conventions allowed orientalism to become an avenue for writing music on subjects considered unmentionable otherwise, such as political themes and erotic fantasies.^[11] It also became a means of expressing Russian supremacy as the empire expanded under Alexander II.^[11] This was often reinforced through misogynist symbolism—the rational, active and moral Western man versus the irrational, passive and immoral Eastern woman.^[11]

Two major works entirely dominated by orientalism are Rimsky-Korsakov's symphonic suite Antar and Balakirev's symphonic poem Tamara.^[13] Antar, set in Arabia, uses two different styles of music, Western (Russian) and Eastern (Arabian).^[13] The first theme, Antar's, is masculine and Russian in character.^[13] The second theme, feminine and oriental in melodic contour, belongs to the queen, Gul Nazar.^[13] Rimsky-Korsakov was able to soften the implicit misogyny to some extent.^[13] However, female sensuality does exert a paralyzing, ultimately destructive influence.^[13] With Gul Nazar extinguishing Antar's life in a final embrace, the woman overcomes the man.^[13]

Balakirev gives a more overtly misogynistic view of oriental women in Tamara.^[13] He had originally planned to write a Caucasan dance called a lezginka, modeled on Glinka, for this work.^[14] However, he discovered a poem by Mikhail Lermontov about the beautiful Tamara, who lived in a tower alongside the gorge of Daryal.^[14] She lured travelers and allowed them to enjoy a night of sensual delights, only to kill them and throw their bodies into the River Terek.^[14] Balakirev uses two specific codes endemic to orientalism in writing Tamara. The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication.^[13] The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas, depict sensual longing.^[13] Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of Tamara in 1898.^[14]

A direct result of such orientalism was the big influence that this circle left on the formation of classical traditions in other nations of the east and south of Russia. For instance, one of Rimsky-Korsakov's famous students, Alexander Spendiaryan went on to become the founder of Armenian classical music, carrying on the traditions and aesthetics of the Mighty Handful to the Caucasus.

Quotations[link]

Rimsky-Korsakov provides the following picture of "The Mighty Handful" in his memoirs, Chronicle of My Musical Life (translated by J. A. Joffe):

Tastes[link]

"The tastes of the circle leaned towards Glinka, Schumann, and Beethoven's last quartets ... they had little respect for Mendelssohn ... Mozart and Haydn were considered out of date and naive ... J. S. Bach was held to be petrified ... Chopin was likened by Balakirev to a nervous society lady ... Berlioz was highly esteemed ...Liszt was comparatively unknown ... Little was said of Wagner ... They respected Dargomyzhsky for the recitative portions of Rusalka ... [but] he was not credited with any considerable talent and was treated with a shade of derision. ...Rubinstein had a reputation as a pianist, but was thought to have neither talent nor taste as a composer."

Balakirev[link]

"Balakirev, who had never had any systematic course in harmony and counterpoint and had not even superficially applied himself to them, evidently thought such studies quite unnecessary ... An excellent pianist, a superior sight reader of music, a splendid improviser, endowed by nature with the sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through a vast musical erudition, with the help of an extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature ... He instantly felt every technical imperfection or error, he grasped a defect in form at once. Whenever I or other young men, later on, played him our essays at composition, he instantly caught all the defects of form, modulation, and so on, and forthwith seating himself at the piano, he would improvise and show how the composition in question should be changed exactly as he indicated, and frequently entire passages in other people's compositions became his and not their putative authors' at all. He was obeyed absolutely, for the spell of his personality was tremendous. ... His influence over those around him was boundless, and resembled some magnetic or mesmeric force. ... he despotically demanded that the tastes of his pupils should exactly coincide with his own. The slightest deviation from his taste was severely censured by him. By means of raillery, a parody or caricature played by him, whatever did not suit him at the moment was belittled — and the pupil blushed with shame for his expressed opinion and recanted...."

Abilities[link]

"Balakirev considered me a symphony specialist ... in the sixties, Balakirev and Cui, though very intimate with Mussorgsky and sincerely fond of him, treated him like a lesser light, and of little promise at that, in spite of his undoubted talent. It seemed to them that there was something missing in him and, in their eyes, he was in need of advice and criticism. Balakirev often said that Mussorgsky had "no head" or that his "brains were weak." ... Balakirev thought that Cui understood little in symphony and musical forms and nothing in orchestration, but was a past master in vocal and operatic music; Cui, in turn, thought Balakirev a master in symphony, form, and orchestration, but with little liking for operatic composition and vocal music in general. Thus they complemented each other, but each, in his own way, felt mature and grown up. Borodin, Mussorgsky, and I, however — we were immature and juvenile. Obviously, towards Balakirev and Cui we were in somewhat subordinate relations; their opinions were listened to unconditionally...."

Influence[link]

Except perhaps for Cui, the members of this group influenced or taught many of the great Russian composers who were to follow, including Alexander Glazunov, Mikhail Ippolitov-Ivanov, Sergei Prokofiev, Igor Stravinsky, and Dmitri Shostakovich. They also influenced the two french symbolist composers Maurice Ravel and Claude Debussy through their radical tonal language.

Timeline[link]

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 id:Cui                value:rgb(1,0.6,0.5)
 id:Balakirev          value:lightorange
 id:Mussorgsky         value:gray(0.8)
 id:Rimsky-Korsakov    value:coral
 id:Tsar               value:white
   

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 from: 1830 till: 1855 color: orange text: Nicholas I       
 from: 1855 till: 1881 color: yellow text: Alexander II
 from: 1881 till: 1894 color: orange text: Alexander III
 from: 1894 till: 1917 color: yellow text: Nicholas II
 bar:Borodin color:Borodin
 from: 1833 till: 1887  
 bar:Cui color:Cui
 from: 1835 till: 1918 
 bar:Balakirev color:Balakirev
 from: 1837 till: 1910  
 bar:Mussorgsky color:Mussorgsky
 from: 1839 till: 1881  
 bar:Rimsky-Korsakov color:Rimsky-Korsakov
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  at:1881 color:black width:0.5 layer:back
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</timeline>

See also[link]

• List of Russian composers
• Tchaikovsky and the Five
• Les Six, French composers
• Armenian Mighty Handful
• Group of Eight (music), Spanish composers

References[link]

External links[link]

• Encyclopædia Britannica article about "The Five" [1]
• The Article about The Five in "1000 years of Russian Music" [2]
• Turgenev and Russian Music: The Mighty Handful (with music samples)
• Russian musical influences of The Five on works of Claude Debussy [3]

Austin as a member of the President's Council on Physical Fitness and Sports

Denise Austin (born February 13, 1957) is an American fitness instructor, author, columnist, and former member of the President's Council on Physical Fitness and Sports.^[1]

Early life[link]

Austin was born Denise Katnich in San Pedro, California. She started gymnastics at the age of 12, which led to an athletic scholarship at the University of Arizona.

Personal life[link]

In 1983, Denise married sports attorney Jeff Austin, brother of US Open champion Tracy Austin. Denise and Jeff have two daughters, Kelly (b. 1990) and Katie (b. 1993). The Austin family resides in Alexandria, Virginia.

Fitness career[link]

Austin initially attended the University of Arizona on a gymnastics scholarship, reaching the rank of No. 9 in the NCAA on balance beam. She later transferred to California State University, Long Beach, graduating with a bachelor's degree in physical education, and a minor in exercise physiology.^[1][2][3]

Austin at The Heart Truth Fashion Show, 2008

Since then, she has been teaching classes, producing fitness shows, creating exercise video tapes, and writing books and columns on exercise and staying fit. Examples include Shrink Your Female Fat Zones, Pilates for Every Body, and Eat Carbs, Lose Weight. In 2002, she was named as a member of the President's Council on Physical Fitness and Sports, and began her second term in 2006.^[1][4]

Austin is known for her emphasis on staying fit naturally, emphasizing that she herself exercises only about 30 minutes a day and does not skip meals. She also prefers the use of sugar and butter over artificial sweeteners and margarine, though she does emphasize portion control, proper nutrient balance, and exercise. Austin encourages people to stay fit at all ages, and conducts research with experts in nutrition, to emphasize realistic, real-life solutions to weight control and fitness.^[5] Austin supports a balanced program of exercise and proper diet, and encourages people to stay away from fad diets or "crazy claims" for quick fixes.^[6] Her exercise programs often integrate a variety of methods including yoga, pilates, cross training, and aerobic exercise.

Austin had a long-running exercise television program Getting Fit with Denise Austin on ESPN2, reruns of which can currently be seen on ESPN Classic and Altitude Sports and Entertainment. The show moved to weekday mornings on Lifetime Television where it was renamed Fit and Lite and Denise Austin's Daily Workout. Austin produced these shows each fall spending four months on location in resorts in the Caribbean and Arizona. Lifetime canceled the shows in April 2008. Austin said she was developing a new TV show later that year.^[7] It was in the planning stages for 2010.^[8][9] According to The Washington Post, Austin was headed back to Lifetime in January 2011.^[10] She is on the morning program The Balancing Act.^[11][12] Austin before had said on her website that she was getting a new show ready for debut in the fall of 2008,^[13] though the show did not debut. When she was interviewed by Erin Whitehead in 2009, it was reported her new show would be back on in the fall of that year.^[14]

References[link]

External links[link]

• Official site
• Denise Austin at the Internet Movie Database
• Denise Austin: Diet and Fitness Coach at AOL Coaches